Patrick Dooley: Designing the Room Before It Happens

March 17, 2026

Patrick Dooley operates at the intersection of luxury hospitality and culture. As a consultant working across boutique hotels and private members clubs, he has built a reputation for shaping not just experiences, but entire social ecosystems. His work is less about service in the traditional sense and more about orchestrating the conditions for the right people to meet, connect and define a moment together.

Patrick first gained industry attention as Head of Membership at Palm Heights, where he helped transform the property into a global cultural destination. Through thoughtful membership strategy and instinctive programming, he cultivated a community that extended far beyond the hotel itself. The result was a place that felt both intimate and influential, drawing a cross section of fashion, art and entertainment into a shared orbit.

He later joined The Twenty Two as Global Head of Experience, where he played a key role in shaping the club’s identity during its international expansion. There, he refined his approach to modern hospitality, one that prioritizes emotional intelligence, cultural fluency and the subtle art of access. His work helped define how a new generation of members clubs can feel both exclusive and culturally porous at the same time.

Now operating independently, Patrick advises a global roster of clients on membership, programming and community building. His perspective is rooted in the belief that luxury today is no longer about material excess, but about access to meaningful experiences and trusted networks. As hospitality continues to evolve, he sees the most successful spaces as those that function as cultural platforms rather than static destinations, where influence is exchanged as much as it is displayed.

With a network that spans industries and continents, Patrick represents a new kind of cultural architect, one who understands that the true value of a room is measured in the caliber of its connections and the influence it generates.

Text Simon Rasmussen
Photo Shana Trajanoska

What does great hospitality mean to you right now?

Great hospitality to me is about rewriting the script. For so long, “great service” has been this polished almost performative service that feels somewhat rehearsed and distant. My lens is rooted in humanity first. It’s about engaging people as people, not transactions and being present, reading the room and creating interactions that actually feel natural and intentional. I believe in being deeply personable, but with purpose. When its done right, there’s no forced charm, just genuine connection that makes someone feel seen.

What separates a good members club from a great one?

What separates a good members club from a great one is the difference between access and belonging. A good club offers beautiful designed spaces, strong programming and a sense of exclusivity. But a great one goes beyond that and creates an environment where people feel genuinely known and seen. It comes down to intentionality and how people are welcomed when they arrived but also how they’re remembered and engaged over time. A members club shouldn’t be just a place you go, it should be a place that reflects you back to yourself in an organic and natural way.

How do you build a room people actually want to be in?
Honestly, it starts before the doors even open. I think about the energy, the mix and the little social dynamics that aren’t obvious on paper but completely decide how a room unfolds. It’s not just about who’s “impressive” it’s about who sparks conversation, who shifts the mood, who brings a bit of magic. The design of a space matters of course, I am a homosexual after all, but that’s just the backdrop, the real work is in the orchestration and how people arrive, who they’re greeted by, the first few interactions they have. I’m also always thinking about connecting dots and introducing people who didn’t know they needed to meet, making sure no one feels out of place. There’s a level of looseness I think is important so the crowd doesn’t feel over managed but that they’re unfolding naturally even though there’s always intention behind it. It should feel a little electric and a little unexpected as if anything could happen.
What is one trend in hospitality you are excited about?

Right now, I’m really excited by this shift toward bold maximalism. For a while luxury hospitality felt very restrained, very neutral, almost like spaces were trying not to say too much, but now it kinda feels like the opposite in the best way. Spaces are leaning into color, personality, humor… a little bit of intentional chaos. I love when a space doesn’t take itself too seriously when you walk in and there’s something unexpected, something that makes you smile or do a double take. It disarms people and gives them permission to loosen up and engage more naturally. There’s also something really powerful when a space feels like its been there forever and evolved over time rather than being perfectly packaged. It creates a sense of discovery, people don’t just pass through, they interact with it. Bold spaces create bolder interactions, they feel expressive, playful, and much more human. And that’s what I think people are craving right now.

And one you think is overdone?
Exclusivity for the sake of exclusivity. For a while, it worked for sure, there was a certain allure to being hard to access. But now, people are a lot more perceptive and they can tell when something is genuinely special rather than just being positioned that way, the issue is when access becomes the whole story. A great space can’t rely on a door policy or a membership model alone, it has to actually deliver once you’re inside. Otherwise it starts to feel hollow, like the idea of the place matters more than the experience itself. For me, the most interesting spaces are the ones that have a sense of discernment and substance and actually being “in the room” means something because of the people and the energy. Exclusivity should be a byproduct, not the whole foundation because when it’s earned, you feel it. When it’s forced, you really feel that too.
What makes someone a great member?
Id say it’s less about status and more about energy. A great member understands that they’re not just there to take from the room but they should be adding to it too. They bring something with them, whether that’s perspective, curiosity or just the ability to make other people feel comfortable. There’s also a level of awareness, they know how to read the room, when to lean in and when to give space and how to include others without making it a performance. I’m always drawn to people who are generous with their presence, in the sense that they love to introduce people and connect dots, they don’t gatekeep the experience.
How important is cultural relevance for a hotel or club today?
It’s everything!! but only if it’s real. You can’t fake it anymore, and you definitely can’t bolt it on. People can walk in and immediately feel whether something’s actually connected to what’s happening or just trying to look like it is. For me, it’s about actually being in the mix rather thasing it. The best spaces feel like they’re part of the rhythm already. They have a point of view, they attract the right people, and things just start to happen naturally. It’s less “look at us” and more “you kind of had to be there.” There’s also this openness that’s really important right now. The most exciting places are a little bit fluid and they’re all colliding in a way that feels effortless, a little unexpected and honestly just fun to be around. At the end of the day, it’s not about trying to be culturally relevant, it’s about being somewhere where culture is actually unfolding in real time.

Culture

10 Years of office

April 30, 2026

A monumental coffee-table book documenting the first decade of office magazine. Spanning 368 pages, this large-format volume (380 × 280 mm) fully archives Issues 1–21, meticulously scanned and reproduced to preserve the raw energy, visual experimentation, and unfiltered spirit that define office.

More than a retrospective, the book is a record of a creative community: fashion, art, and culture seen through original personalities, unconventional lives, and instinctive expression. From early DIY moments to fully realized editorial worlds, each issue reflects Office’s commitment to risk, individuality, and visual impact.

Printed in Europe and art directed by Ole Lund, this limited-run edition is designed as an object, bold, tactile, and unapologetic, intended to live on a table, not a shelf.

A definitive archive of office magazine’s first ten years.

The book is on display May 1st through May 3rd, 10am - 3pm daily at WSA, 161 Water St, 6th floor.

The archival book is available for purchase here. Free black office tote bag with every purchase.

Culture

Stephen Jones: In-focus

How do you see the evolution of how people see and wear hats throughout your career?

SJ: It’s very different, hats used to be very much occasion wear and now they have polarised it to be fantasy or totally functional as a beanie on a Monday morning.

Tell us about your design process. Where do you start? How do you think about the hat and the body?

SJ: I live my life and put it into a hat, so I never really stop designing in my head it’s just occasionally those ideas are put down on paper and become hats. I always think about the hat with the body because a hat is not a separate object it needs to become a part of the person

Tell us about your ability to bring other designers' vision to life. How are you able to be so creatively adaptable through your numerous collaborations and long-spanning relationships?

SJ: It’s really about bringing their imagination to life, it’s what we create together. That’s the key they couldn’t do it themselves and I couldn’t do it myself, it’s something we do together. I have to get inside their mind which is very unusual for an outsider.

" I live my life and put it into a hat. "

Tell us about your mentorship with Shirley Hex. How do you see the importance of learning the rules before you break them?

SJ: My time with Shirley Hex was extraordinary and she taught me the main principals of millinery, however after a couple of years she forced me out the nest and encouraged me to develop my own style in my own way.

How does British, London, and/or Paris culture influence your work?

SJ: Completely; British culture is a weird dichotomy of something that is very aristocratic or something that is very punk, but Paris brings something which is coquettish and mannered.

" It’s really about bringing their imagination to life, it’s what we create together. "

You've experimented with so many unconventional materials, how do you decide a material is meaningful to transform into a hat?

SJ: Well it has to serve the purpose of what the hat is trying to be, but also when you are making it, the hat serves the purpose of the fabric.

The Palais Galliera devoted a full retrospective to your work, what was it like seeing your work in this presentation? What do you want your legacy to be?

SJ: Number 1 it is an extraordinary honour to be included there. I could see my work, almost in the 3rd person, I didn’t see it as being uniquely personal but saw it as it being presented to others and I could analyse it quite dryly. My legacy to be that the pursuit of dressing can be a wonderful extension either of your character or who you want to be.

What do you think is a misconception about hats and the process of creating them?

SJ: That they are quick and easy, it’s very laborious because they are 3d objects.

Do you feel your design process is more learned or instinctual?

SJ: I think it’s a conversation of the two. I love learning about a particular subject and trying to transform that into a hat, but at the same time spontaneous expression is important because it looks fresh.

What other mediums of art inspire your hats the most?

SJ: I would probably say the most is architecture but nature as well as painting and sculpture, but the form of everything and everything, whether it’s an Opera or an apple, they tell a specific story.

SJ: Is there a hat you would never wear?

I would try everything, but not wear things which I didn’t feel were convincing i.e. a cowboy hat

What made the environment and culture of The Blitz a fertile ground for creativity?

SJ: Because it filled the vacuum that had been left by punk.

Do you have any favorite young milliners?

SJ: As the Chairman of the British Hat Guild, I am not allowed to say whether I do have or not

Where do you think people's fear around wearing hats comes from?

SJ: Sometimes it’s the fear of standing out too much and therefore assuming a greater importance than they feel they should have but often you can hide underneath hats too and hats can be the conversation for you.

Is there a hat that got away? An idea you've wanted to create but haven't yet actualized?

SJ: Yes I am always looking for that hat around the corner.

Culture

Secret Teahouse Serves High-Frequencies on Brutalist Penthouse

April 27, 2026

Inside the Terre Velasca’s 25th floor hides the CROMO’s Secret Teahouse. The reflective tent, designed by Bogdan Martoiu, is based on the Vietnamese Rong House, a ceremonial space for cultural gatherings. Inside the temporary teahouse, a tea tasting session guides the guest experience of CROMO’s Cyborg Beauty, a Moroccan Mint Tea. Outside, a mini matcha bar served the event’s exclusive Double Tea - a mix of jasmine, matcha, and Oatly. The pop-up event is Milan’s first of many, leading up to the permanent opening later this year. The space was supported through the private membership club Madison House, also home to Terre Velasca in late 2026. Together, the immersive and thoughtful concept reshapes how tea can be integrated into contemporary markets, design, and culture.

CROMO values the ritual and intention behind tea, recognizing it as the ultimate wellness elixir. Tea attributes the radical notion of slowing down in lieu of the modern hustle culture, regulating a previously tense nervous system. The collection of nine high frequency teas are designed to heighten the physical and mental state. Ethically sourced from China, Japan, Kenya and made with low-impact methods, tea takes its purest form here, uniting craft and character across continents. The nomadic teahouse and all who were involved celebrate the present moment by elevating ancient tools for cultivating connection with the self, each other, and nature.